Preview A publication for our donors / Issue No. 46 Winter 2019
Community & Continuity
The National Ballet of Canada: A Community to Last The National Ballet of Canada has experienced remarkable change in its 67 years, growing from a small troupe to a premiere organization with artists and creative partners from around the world. We have also stayed the course, upholding the high standards set out by our founder and forging lasting relationships with our artists, audiences and donors. It makes me very proud that the National Ballet has been a home for so many talented individuals, whether permanently or on return engagements. In this special issue of Preview, we recognize the impact of continuity on the creative life of the National Ballet and its extensive community of artists and friends. March 2019 brings a true celebration of continuity with The Thirteenth Annual Competition for The Erik Bruhn Prize, an important part of Erik’s legacy. We also present work by two Canadianborn choreographers, Robert Binet and former company member Julia Adam. Julia created Night for San Francisco Ballet, where she was Principal Dancer, and we are thrilled to have her back here to stage it. Robert created The Sea Above, The Sky Below in honour of Principal Dancer Xiao Nan Yu on her 20th anniversary with the company in 2017. It is with enormous admiration for both Nan and Robert that we restage his piece now, in the lead-up to Nan’s retirement in June.
Six additional dancers celebrate 20 years with the company this year: Guillaume Côté, Heather Ogden, Piotr Stanczyk, Alejandra Perez- Gomez, Tanya Howard and Andreea Olteanu. All have left an indelible mark on the company. Behind the scenes, Wardrobe Supervisor Marjory Fielding, Principal Pianist Janis Neilson and Receptionist Seta Nigoghossian retired following 23, 38 and 40 years of service respectively. In 2019/20, I will celebrate my own milestone anniver sar y of 50 year s with The National Ballet of Canada. Ever y day, I have been inspired by the dedication of those who surround m e, in c lu din g yo u, o u r wo n d e r f ul donors. Thank you so much for your enduring support.
Karen Kain, C.C. Artistic Director
20 Years of Magical Performances C o n g r a t u l a t i o n s to P r i n c i p a l Dancers Guillaume Côté, Heather Ogden, and Piotr Stanczyk, Principal Character Artist Alejandra PerezGomez, First Soloist Tanya Howard and Corps de Ballet member Andreea Olteanu, who celebrate 20 years with The National Ballet of Canada this year. In recognition of their achievements, the company is holding dedicated performances and celebrations throughout the 2 018 / 19 s e a s o n . H e a t h e r w a s honoured at a special performance of John Neumeier’s Anna Karenina on Thursday, November 15, 2018, and Karen Kain presented Alejandra and Andreea with flowers on stage following their per formances in James Kudelka’s The Nutcracker i n D e c e m b e r. O t h e r d e d i c a te d performances are forthcoming, with dates to be announced. Guillaume Côté, Heather Ogden, Tanya Howard and Andreea Olteanu have enjoyed longstanding support from donors through the Dancers First Programme. We are proud to recognize these generous individuals in connection with the dancers’ 20th anniversary season: Guillaume Côté is sponsored through Dancers First by Emmanuelle Gattuso, C.M. and Allan Slaight. C.M. Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin. Tanya Howard is sponsored through Dancers First by Nancy Pencer. Andreea Olteanu is sponsored through Dancers First by Devida & Derek Smith.
Karen Kain. Photo by Karolina Kuras. 2
Heather Ogden. Photo by Sian Richards. The National Ballet of Canada
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Contents Message from Karen Kain 20th Anniversaries Company Premiere: Night Guillaume Côté with Elena Lobsanova in Romeo and Juliet (2011). Photo by Bruce Zinger.
Winter Programme The International Competition for The Erik Bruhn Prize Message from the Director of Development Donor Spotlight: The Rose Family
Piotr Stanczyk with Sonia Rodriguez in Don Quixote (2006). Photo by Cylla von Tiedemann.
Tanya Howard with Dylan Tedaldi in Le Petit Prince (2016). Photo by Karolina Kuras.
Marjory Fielding Alice’s Adventures in Wonderland Dancer Spotlight: Brendan Saye YOU dance Corps Q & A: Meghan Pugh Janis Neilson MAD HOT BALLET
2 2 4 5 6 8 9 10 11 12 13 14 15 16
national.ballet.ca Alejandra Perez-Gomez in The Sleeping Beauty (2018). Photo by Aleksandar Antonijevic.
Preview newsletter is published quarterly by The National Ballet of Canada’s Development Department. Director of Development: Diana Reitberger, CFRE Publisher: John Hart Preview Editor: Caroline Dickie Contributor: Sayana Izmailova Art & Design: Carmen Wagner We would love to hear from you: Please send your comments to: preview@national.ballet.ca
Andreea Olteanu with Artist of the Ballet in 24 Preludes by Chopin (2008). Photo by Sian Richards.
C o v e r : B re n d a n S a y e . P h o t o b y K a ro l i n a K u r a s . 3
Company Premiere: Night by Julia Adam This winter, The National Ballet of Canada presents a selection of shor t works by new and established choreographers, including the company premiere of Night by Julia Adam. A former corps member with the National Ballet, Julia was Principal Dancer at S a n Fr a n c i s c o Ba lle t b efo re pursuing choreography full-time. N i g h t m a r k s h e r f i r s t c r e a t i ve partnership with the National Ballet. “I star ted thinking about a collaboration with the National Ballet several year s ago,” Julia says. “But it was seeing the company’s fantastic performances of Nijinsk y in San Francisco that prompted me to really pursue it. Karen and I began to talk seriously and we decided on Night.” Created for San Francisco Ballet i n 2 0 0 0 , N i g h t e n te r s i n to t h e imaginative landscape of a solitary dreamer, inspired by the abstract paintings of Marc Chagall. Dreams of flying, being caught, falling and sailing unfold over the course of a ballet Julia describes in terms of archetypal imagery and expansive space. “Night is the first piece I created for San Francisco Ballet’s main
stage,” she says. “Helgi Tómasson, the Ar tistic Director, called four of us into his of fice to ask if we would contribute to his Discovery Program for new work. After that meeting, I stood on the stage and thought, How do I fill this space? Dreams can do that. That’s how it started.” The shifting, dreamlike world of Night is informed by an original and commissioned score by Matthew Pierce, the first of several that he has created for Julia’s work. “There is so much layering in Matthew’s music, and as a choreographer, that gives me a lot to build on,” Julia says. “I like to use theme and variation, but I also try to find sounds beneath the obvious ones. I should emphasize that Matthew’s score for Night is also fun. The piece itself is fun. It pulls us out of our normal musical paradigm and gives us something surprising.” The world premiere of Night was so successful that San Francisco B a ll e t to o k i t o n to u r to Pa r i s , London and New York City, and it ha s since be e n adde d to the re p e r toire of Chic ago’s Jof f rey Ballet. Julia remains an exciting choreographic voice in Nor th
America and a strong female presence in a field that has been disproportionately male. “I suspect some aspect of the gender inequality comes back to the way dancers are trained,” she says. “There are far fewer boys in ballet than girls, so in a sense boys are freer to be themselves, whereas gir ls le a r n to c onfor m. To b e a choreographer, you need enough self-esteem to stand at the front of the room and be vulnerable.” Julia ha s playe d with ge nde r identity while restaging Night for the National Ballet, even reimagining the female lead as a man. “Restaging a piece for new dancers adds new life to it, and you have to be open to change” she says. “I’m just so thrilled to be working with this beautiful company, with my childhood idol K a r e n K a i n, a n d w i t h s o m a ny former colleagues and classmates, including my dear friend Christopher Stowell, who I danced with at San Francisco Ballet and who commissioned new work from me while he was Artistic Director at Oregon Ballet Theater. This will be a true homecoming!”
Night is generously supported by The Gail Hutchison Fund for New Creations, with additional support from The Catherine and Maxwell Meighen Foundation and The Producers’ Circle. Artists of San Francisco Ballet in Night. Photo by Chris Hardy. 4
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Pure Dance One of the signature strengths of The National Ballet of Canada is its rich reper toire of new and legacy works, which includes everything from full-length classics by the great choreographer s to short, contemporary pieces from emerging talents. The winter programme offers an exhilarating sample, with George Balanchine’s A pollo, Rober t Binet’s The Se a Above, The Sky Below and C h r i s t o p h e r S t o w e l l ’s s t a g i n g of Paquita appearing alongside Night by Julia Adam. All indulge in pure dance. When The Volunteer Committee of The National Ballet of Canada funded the acquisition of Apollo in 1998, it gave the company one of the masterworks of 20th centur y ballet. Balanchine created Apollo for the Ballet Russes in 1928, when he was just 24 years old, and he regarded it as his “artistic coming of age.” Apollo was Balanchine’s
first major collaboration with the composer Igor Stravinsky, his first real international success, and the first to see him moving toward the pure dance aesthetic for which he is known. About Apollo, Balanchine ha s s a id: “In its dis cipline a nd restraint, its sustained oneness of feeling, the score was a revelation. It seemed to tell me that I could dare not to use everything, that I too could eliminate.” The Sea Above, The Sky Below wa s c re ate d by Cho re o g r a p hic Associate Robert Binet in 2017 to honour Principal Dancer Xiao Nan Yu for her 20 years with the National Ballet. This mesmerizing work for three dancers puts musicality in the foreground and is characteristic of Robert’s experimental energy. The Sea Above, The Sky Below is the first dance collaboration for Fashion Designer Erdem Moraglioglu, and follows Robert’s successful multidisciplinar y work, The Dreamers
Ever Leave You, a co-production with the Art Gallery of Ontario. The mixed programme closes with Paquita, a virtuosic celebration of ballet technique. Dating to 1846, it tells of a young gypsy girl who learns of her noble birthright just in time for her to marry. But the story is secondary to the dancing, and particularly the thrilling variations of the Grand Pas Classique, its most famous passage. The National Ballet per forms Marius Petipa’s revival of Paquita from 1881, staged by Associate Ar tistic Director Christopher Stowell.
Apollo is a gift from The Volunteer Committee, The National Ballet of Canada. Costume Design for The Sea Above, The Sky Below by Erdem Moralioglu is generously supported by Suzanne Rogers.
Guillaume Côté in Apollo. Photo by Cylla von Tiedemann. Xiao Nan Yu and Harrison James in The Sea Above, The Sky Below. Photo by Monica Guddat. Artists of the Ballet in Paquita. Photo by Andrew Oxenham.
The National Ballet of Canada
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Alysa Pires Creates New Work for The International Competition for The Erik Bruhn Prize On March 23, 2019, The National B a ll e t of Ca n a d a w ill h o s t T h e T hi r te e nth A n nu a l C o m p e ti ti o n for The Erik Bruhn Prize, bringing together some of the best young talent in the world. Erik Bruhn held the A r tis tic D ire c to r s hip of the National Ballet from 1983 until his death in 1986. The competition is a respected part of his legacy, established to celebrate the high level of artistry that Bruhn pursued in his lifetime. Fir st he ld in 19 8 8, the B r uhn Prize is open to young dancer s a g e d 18 to 2 3 f r o m to p b a l l e t companies worldwide. This year, one male and one female dancer
from each of Royal Danish Ballet, American Ballet Theatre, Hamburg Ballet and The National Ballet of Canada will compete by performing a classical pas de deux and a new contemporary pas de deux or solo work. An award will also be given for the best new choreographic c o m m i s s i o n. R e p r e s e n t i n g t h e National Ballet are Corps de Ballet members Jeannine Haller a n d S ip h e s ihl e N ove m b e r, a n d To r o n to - b a s e d C h o r e o g r a p h e r Alysa Pires. This will be Alysa’s second collaboration with the National Ballet, following her presentation of In Between at the 2018 Choreographic Workshop and
Jeannine Haller Jeannine was born in Saskatoon, Saskatchewan and trained at Place des Ar ts in Coquitlam, British Columbia and Canada’s National Ballet School. She joined the National Ballet as a RBC Apprentice in 2015 and became a member of the Corps de Ballet in 2016, winning the RBC Apprentice Awa rd for excelle nce the s a me year. Recently, Jeannine made her debut as the Second Fairy in Rudolf Nureyev’s The Sleeping Beauty.
The Thirteenth International Competition for The Erik Bruhn Prize is presented by John and Claudine Bailey. Siphesihle November is sponsored through Dancers First by Jerry & Joan Lozinski. Alysa Pires. Photo by Vaida Pucinte. Jeannine Haller. Opposite: Siphesihle November. Photos by Karolina Kuras. 6
The National Ballet of Canada
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Siphesihle November MAD HOT BALLET Gala. “ Eve n t h o u g h I h ave wo r ke d p r i m a r i l y i n t h e c o n te m p o r a r y world, I am a huge fan of ballet and I have a deep love and appreciation for classical technique,” Alysa says. “There can be a sort of segregation between the contemporar y and classical worlds, and the workshop gave me a lot of confidence to move between them more readily and to know that there is a place for me in both.” Alysa, who is a graduate of The Ryerson School of Per formance, has created works for such c o m p a n i e s a s B a l l e t Ke l ow n a , Ballet Edmonton, and Canadian C o n te m p o r a r y D a n c e T h e a t r e , among others. Her own company, Alysa Pires Dance Projects, made its critically acclaimed debut with Exterminating Angel at the 2016 Fringe Festival. Throughout her time in Toronto, she has attended the National Ballet’s performances as a member of DanceBreak. “I remember seeing the world premiere of Emergence and being blown away by the work and the dancers’ total command of a more contemporar y movement st yle,” she says. “I was so inspired by Cr ystal Pite’s abilit y to transfer her signature aesthetic onto more classical bodies, a process I would begin myself with the same company just a few years later.”
John and Claudine Bailey Longtime donors John and Claudine Bailey have sponsored The Erik Bruhn Competition seven times, giving audiences and ar tists the chance to see exciting new talent. We thank them for their sustained and passionate commitment to this event for young dancers.
S i p h e s i h l e , o r “ S i p h e ,” wa s b o r n i n Wo r c h e s te r, South Africa and trained at Ca n a d a’s N a ti o n a l B a ll e t School. He joined the National Ballet as a member of the Cor ps de Ba llet in 2017 and made his debut as Bluebird in Rudolf Nureyev’s The Sleeping Beauty in 2018.
For the Bruhn Competition, Alysa is working closely with Jeannine and Siphe to showcase and even reframe their unique strengths and talents for the audience. “I think a great deal about the audience when I’m choreographing, not in an effor t to please, but to u n d e r s t a n d h ow I c a n e n g a g e people authentically. Jeannine and Siphe are phenomenal dancers,
and I want to reveal a side of their physicality that audiences may not have seen before. I’ve set this new work to an Aphex Twin remix of David Bowie’s ‘Heroes’ and the Philip Glass symphony it inspired. It’s an absolutely gorgeous piece of music, and I can’t wait to see these two brilliant dancers flying through the space with this soaring music filling the theatre!”
“The Erik Bruhn Competition is a marvellous showcase for dancers and choreographers with enormous potential, and who have entered a crucial stage in their professional development. We’re so proud to be part of it.” John and Claudine Bailey
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A Message from the Director of Development Recognizing the Commitment of Our Donors As we begin this winter season of dance, I am encouraged to see our donors stepping up to support our historic Soaring campaign, driving it forward to meet our $100 million goal by June 30. Mome ntum is everything at this crucial last stage of the campaign, when time is short and there are still vital funds to be raised. The per formances and events f o r M a r c h 2 0 19 r e f l e c t y e a r s of d e di c a te d s u p p o r t f r o m o u r donor community. For the seventh time, John and Claudine Bailey are the generous sponsors of T h e I n te r n a t i o n a l C o m p e t i t i o n for The Erik Bruhn Prize, an exciting event that has become
par t of our le gacy. Christophe r W he e ldon’s A l ic e’s Ad ve ntu r e s in Wonderland has received the suppor t of numerous individuals and corporate par tners at home and on tour, and would not have been possible without leadership investments from The Catherine and Ma xwell Meighen Foundation, Richard M. Ivey, Rosamond Ivey, Ju di th a n d Ro b e r t L aw r ie, a n d Wa llac e a nd Ma rga ret M c Ca in. With Apollo, we have an enduring gift from The Volunteer Committee, which has existed in par tnership with the National Ballet since its inception. There are many other examples, from the Dancers First members
who suppor t our ar tists to those w h o p r o v i d e f u n d i n g f o r YO U dance, the Endowment and our daily operations through annual giving programmes. As I reflect on the significant anniver saries captured in this issue of Preview, I a m re minde d that dono r s a re par t of our culture of dedication and continuity, and that new faces are always arriving to star t their own jour neys. T ha nk you to all our donors for committing to The National Ballet of Canada. Diana Reitberger, CFRE Director of Development
Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski. Jillian Vanstone and Guillaume Côté in Alice’s Adventures in Wonderland. Photo by Aleksandar Antonijevic. 8
The National Ballet of Canada
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Donor Spotlight: The Rose Family Happy Memories of The National Ballet of Canada The Rose family has been involved with The National Ballet of Ca nada ac ro s s ge ne r ations, as volunteers, subscribers, donors a n d f r ie n d s. We s at down with John and Susan Rose, and two of their children, Alex and Melanie, to talk about their experiences with the company. John: My parents were both passionate about ballet. My mother, Mimi, was an active member of the Ballet Guild, the earliest volunteer fundraising arm of the National Ballet. She worked at Paper Things and I remember she was always on the phone at home to talk about Guild business. My father, Barrie, was on the Board of Directors from 1966 to 1980. They took us to The Nutcracker ever y year when we were kids, and they often went out to enjoy the ballet on their own. Susan: I was at the O’Keefe Centre all the time as a child to see either the National Ballet or the Canadian Opera Company. Karen Kain and Frank Augustyn were my favourite dancers and I’ve always said that no one has arms like Karen. When my mother and I saw Baryshnikov and Nureyev dance here, my mom would lean over and whisper, “this is history in the making right now.” M e l a n i e : Fr o m t h e a g e o f s i x , I went to the ballet with my Papa (Barrie). He first took me to piano dress rehearsals of The Nutcracker, and later to other performances. I love d get ting dre s se d up and feeling grown up when I went with him. He really enjoyed sharing the performances with me and it gave u s s o m e thin g to c o n n e c t ove r.
B a l l e t h a s g i ve n m e s o m a ny spe cial me mor ie s of my Papa to treasure. Susan: Joining The Music Circle has given us a means of ensuring that live music continues. You can’t overstate the importance of live music to a ballet performance – it makes for a richer in-theatre experience. Melanie performed to recorded music at her ballet school and she’ll tell you, from a dancer’s perspective, it just isn’t the same. Our attendance at special events through The Music Circle has only strengthened our opinion. David Briskin and the entire National Ballet Orchestra are so committed to the music and they make us feel we’re really a par t of it.
John: As members of The Patrons’ Council, we have the opportunity to meet and talk to the dancers at special events like The Agony & The Ecstasy. We love to follow their careers and cheer them on as they accept new challenges and move up through the ranks. At pre-ballet dinners we learn more about the different productions and engage with our fellow donors, talking and sharing opinions. Alex: Ballet and music have always been important to our family and they bring us such joy that we feel i t ’s o u r r e s p o n s i b i l i t y to o f f e r support and make these experiences available to others. We feel this is our family’s legacy.
Clockwise from top left: Alex Rose, John Rose, Melanie Rose and Susan Rose. Photo by Karolina Kuras. The National Ballet of Canada
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Thank You to Marjory Fielding For an incredible 23 years, Marjory Fielding has ser ved as Wardrobe Supervisor at The National Ballet of Canada, a role that saw her collaborating with world-class de signe r s, ove r se eing a team of wa r d r o b e s p e c i a li s t s , b a l a n c in g budgets and ever y thing between. Marjory is something of an institution, w i t h a we a l t h o f s p e c i a l i s t a n d orga niz ational k nowle dge to he r credit. On January 11, 2019, Marjory s te p p e d d ow n f r o m h e r r o l e a s Wardrobe Supervisor to pursue other adventures, leaving behind an unprecedented legacy of diverse and beautiful productions. How did you get your start with The National Ballet of Canada? I s tu die d pa inting fo r my B FA and later focuse d on tex tile ar t, but when I accidently discovered costuming my life took a different direction. I have worked in theatre, opera , film and dance – for just a b ou t eve r y p e r fo r m a n c e g e nre that requires costumes. I worked freelance for many years and ran my own painting and dyeing studio, Chrome Yellow Inc. One of my first j o b s a t t h e N a t i o n a l B a l l e t wa s as a costume painter for Daphnis and Chloé designed by Willa Kim. I have also worked with the fabulous designer Susan Benson and was her assistant on the National Ballet’s The Taming of
the Shrew and Romeo and Juliet, both by John Cranko. You have worked on hundreds of shows. Do you have a favourite? James Kudelka’s The Nutcracker was my first really big show, and it still holds a special place in my heart. It’s monumental. I learned a lot in the proces s of building it, including how to hire people, and how important it is in general to have staff with experience and s k i l l . T h e r e a l l y e xc i t i n g t h i n g about working in theatre and dance i s th a t yo u a re p re s e n t fo r th e entire lifespan of the production, from the design stage right through to boxing it up.
You have been with the National Ballet for 23 years. What made you stay? The people I’ve had the pleasure of working with. The entire production team is of such a high calibre and contributes so much to the success of the company. Eve r y d e t a i l h a s to b e r i g h t i n order for a show to work, and our team under stands that. They’re meticulous. What’s next for you? I suspect costuming will always be par t of what I do, though in what form I’m not sure. But the possibilities are very exciting!
“It would be impossible to list all of the accomplishments and successes that Marjory has amassed over the years. Her gifts not only ensured that our costumes were constructed and maintained to the highest professional standards but she also created, in our wardrobe, a culture that nurtured creativity and excellence and has made our company a destination of choice for the best designers from around the globe.” James Thornley, Production Director Marjory Fielding. Photo by Dylan Tedaldi. 10
The National Ballet of Canada
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An Artistic Turning Point: Alice’s Adventures in Wonderland Christopher Wheeldon’s Alice’s Adve ntur e s in Wond e r l a nd wa s one of the first large -scale new productions of Karen Kain’s tenure as Ar tistic Director, and it made everyone feel as though something new and exciting had be gun. N ow, a l m o s t e i g h t ye a r s l a te r, it is clear that the ballet helped to usher in a new era of creative growth, international touring and h e i g h te n e d d o n o r e n g a g e m e n t under Karen Kain. Alice’s Adventures in Wonderland is a co-production with London’s Royal Ballet, the first of several such arrangements that The National Ballet of Canada has pursued. With a co -production, the enormous costs of mounting a production with new costumes, sets and score are shared, with par ticipating companies retaining different rights to the work. The co -production mitigates some of the financial and creative risk associated with new work, and has breathed new life into production building for many international ballet companies. In the years since Alice was created, the National Ballet has entered into co -produc tions for Whe eldon’s T h e W i n t e r ’s Ta l e ( T h e R o y a l Ballet), Alexander Ekman’s Cacti (Boston Ballet and Atlanta Ballet), a n d J o h n N e u m e i e r ’s A n n a Ka r e n i n a ( H a m b u r g B a l l e t a n d Bolshoi Ballet).
Fo r A l i c e, th e r u l e s of th e co-production stipulated that the National Ballet would retain exclusive North American touring rights for a period of time. The immediate success of Alice made it possible to take full advantage of this opportunity, and the company earned new acclaim through prestigious touring engagements in Washington D.C., Los Angeles and New York City. With international touring firmly reestablished, the company was able to present additional new work in London, Paris, Hamburg and, last fall for the first time ever, in St. Petersburg and Moscow. A l i c e a l s o s aw t h e c o m p a ny par tne ring with a world leade r i n c h o r e o g r a p hy. C h r i s to p h e r Wheeldon is acclaimed for reimagining the stor y ballet through his experiments with plot, choreography and stagecraft. As o n e of th e e a r li e s t a n d f ull e s t e x p r e s s i o n s o f W h e e l d o n’s approach, Alice placed the National Ballet at the forefront of innovations in the story ballet worldwide. The National Ballet h a s s i n c e c o l l a b o r a te d w i t h Wayne McGregor, Crystal Pite, Robert Binet, Robert Lepage a n d Ju s tin Pe c k , a m o n g other visionary creators. Donors have provided the necessary foundation
for this growth. The 2011 premiere of Alice coincided with the genesis of the Soaring Campaign, designed t o r a i s e $ 10 0 m i l l i o n f o r t h e continued excellence of the National Ballet. Through Soaring, donors have provided vital funding for the creation and touring of new productions like Alice, and fostered exper tise at all levels of the organization. If Alice marks the onset of a new phase of growth, it also reflects the passion and commitment of donors. The sense of possibility in Alice, its optimism and magic, could not better represent the individuals who helped bring it to life.
Alice’s Adventures in Wonderland March 7 – 17, 2019 A co-production of The National Ballet of Canada and The Royal Ballet (UK). Lead philanthropic support for Alice’s Adventures in Wonderland is provided by an anonymous friend of the National Ballet with additional support generously provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., Rosamond Ivey, Judith & Robert Lawrie and Wallace McCain & Margaret McCain, C.C.
Greta Hodgkinson. Photo by Christopher Wahl. The National Ballet of Canada
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Dancer Spotlight: Brendan Saye On Touring Our per formances in Moscow and St. Petersburg were wonderful experiences, especially because we presented two signature works – Being and Nothingness a n d Em e r g e n c e – a s pa r t of a contemporary programme. It was especially thrilling to feel such a warm response from audiences in cities celebrated for their heritage of classical ballet. Touring always boosts the confidence and morale of the company because we have more oppor tunities to per form and more exposure to new audiences. Plus we are able to see other dancers, companies and theatres. The dance world is small so we enjoy developing a greate r sense of communit y.
On New Productions B y wo r k i n g w i t h t h e wo r l d’s be st chore ographe r s, we have been able to improve the quality of our dancing and stor y telling. Chr istophe r W he e ldon ( A l ic e’s
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Adventures in Wonderland, The Winter’s Tale) and John Neumeier ( N i j i n s k y, A n n a K a r e n i n a), f o r example, are both experts in their craft but in different ways. Chris c a r ve s o u t t h e l a n d s c a p e o f a narrative and tells a story clearly to the audience. He understands movement and stagecraft so well, he creates a beautiful production. John loves large-scale narratives a n d t r a n s f e r s t h e m i n to b a l l e t with dif fe rent pe r spe c tive s. He abstracts elements through moments that depart from the real world so we can delve into the mind and psyche of characters. Through this, he is able to bring a great sense of humanit y to his work.
On Karen’s Leadership F o r m e p e r s o n a l l y, K a r e n has pushed me in a lot of ways a n d e n s u r e d I h a d m a ny g r e a t o p p o r tu n i ti e s to h e lp m e g r ow artistically. After I was off due to illness for a long time, she was very
suppor tive, patient and gracious with the time and work I needed in order to return. F o r t h e c o m p a n y, s h e h a s b e e n a c a t a l y s t to a n a m a zi n g transformation. She has a clear vision of her direction for the National Ballet, set ting out he r priorities of new productions a n d i n te r n a t i o n a l to u r i n g , a n d she’s succeeded tremendously, energizing artists and audiences. I’ve been ex tremely for tunate to have Robin Vaile Robinson as my Dancers First sponsor. She’s been very supportive of me and my career for close to nine years. She represents how amazing the entire donor community is: ever yone is really invested in the dancers and loves ballet as much as we do. It is really inspiring to feel that excitement and support every day. Brendan Saye is sponsored through Dancers First by Robin Vaile Robinson. Brendan Saye. Photo by Karolina Kuras.
The National Ballet of Canada
Preview Winter 2019
YOU dance Makes an Impact The National Ballet of Canada shares the belief that art speaks to our common humanity and should be accessible to all. To this end, the company maintains a diverse and inclusive education and outreach programme targeting audiences of all abilities and backgrounds. YOU dance, the largest of these initiatives, operates both nationally and locally to forge community and understanding around dance. N ow in its 12 th s e a s on, YOU dance introduces students in grades 4 through 6 to the world of dance through free workshops and per formances. In May 2019, YOU dance returns to the Daniels Spectrum in Toronto’s Regent Park
community for the four th time to h o s t a c o l l a b o r a ti ve r e s i d e n c y designe d for long-term impact. The residency includes multiple movement and creation workshops at five participating schools along with performances by the National Ballet Apprentices. Students also showcase their own dance creations a t a n eve n i n g p e r fo r m a n c e fo r fa mil y a n d f r i e n d s. O ve r 3,0 0 0 students and community members are expected to participate. The four th annual YOU dance National Livestream will also broadcast from the Daniels Spectrum in May. With participating schools from all thirteen provinces a n d te r r i to r i e s , t h e l i ve s t r e a m
will briing the National Ballet into communities it could not reach other wise, making the company known to more Canadians than ever before. With this combination of local and national initiatives, YOU dance is improving access to dance and establishing lasting connections between the National Ballet and the dive r s e c o m muni tie s i t s e r ve s. T h a n k yo u to a l l t h e g e n e r o u s groups and individuals who make YOU dance possible each year.
Students at a YOU dance workshop. Photo by Bruce Zinger. Apprentice at a YOU dance performance. Photo by Alana de Haan.
Regent Park Workshop
“The performance of our students last evening was exceptional. They really shone and the pride they exuded in their accomplishment was beyond description. Thank you for providing them with this opportunity. I’m sure it’s going to be unforgettable in their memories!” Lord Dufferin School, Toronto, Ontario
National Livestream
“Our students come from the kind of poverty that people refuse to believe exists – especially in a beautiful idealistic setting like ours. Today, however, you were able to break down that obstacle and bring something special to our Grade 6s and 7s.” Bridgeview Elementary School, Surrey, British Columbia YOU dance is supported by Ballet Club Relevé, J.P. Bickell Foundation, Maxine Goldberg, Judy & Wil Matthews, The McLean Foundation, The Steve and Sally Stavro Family Foundation, Beth & Brent Wilson, The Woodbridge Company, An Anonymous Donor and An Anonymous Lady. The National Ballet of Canada
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Corps Q&A: Meghan Pugh How did you start in dance? I was always bopping around to music in the house so my mom put me in lessons when I was four. I started with ballet at a recreational school in Ottawa, later adding jazz and tap. I always put on shows for my parents and my brother because I loved performing. When did you think of ballet as a career? My parents brought me to see The Nutcracker in Toronto when I was nine and I absolutely loved it. I thought to myself, “That’s what I want to do when I get older!” One of my teachers suggested I audition for Canada’s National Ballet School. I attended for eight years. So you must have had many opportunities to dance in The Nutcracker... It was my first performance with the company when I was an Apprentice and I was completely overwhelmed by it. But it was very exciting and special to be in the show that made such an impression on me as a child. I’ve just finished my third year performing Sheep. I love that role and dancing with all the little lambs on stage. It reminds me of where I started. Plus, all the kids in the audience love that scene. What did you gain during your Apprentice years? The RBC Apprentice Programme and YOU dance gave me exactly what Born: Ottawa, Ontario Trained: Canada’s National Ballet School Joined: 2012 Corps de Ballet since: 2014
I needed when I was starting out: to get stronger and gain confidence. Performing more demanding roles in the YOU dance shows and with the Corps de Ballet in main company productions was the best of both worlds. Those two years were an essential stepping stone to my professional career. What do you appreciate most about being part of the company? I’ve known some of my colleagues since I was twelve or thirteen years old, so there are a lot of connections and relationships. It gives me a sense of comfor t. I’m with people who understand where I came from and I know I can count on them for support. W hat a r e some of your ca r e er highlights? The diverse repertoire we dance, plus the wonderful opportunities we’ve had recently to tour to great cities. In November I played Kitty in Anna Karenina, the most complex character
I’ve performed to date – I even drove a tractor on stage! It took a while to research the novel and explore my character, but John Neumeier discussed Kitty’s intention with me and helped me piece it together. After all that work, the performance was amazing and felt right. What is your role as the Dancer Representative for Turnout? I’m one of two Dancer R e p re s e nt a tive s fo r th e yo u n g professional programme. I love attending the events, which are always fun, and talking individually with the donors. I really enjoy sharing more of what I do and hearing about what they do. It’s a chance for me to thank donors for their time and commitment to the company. I appreciate them coming to rehearsals to see how the ballets come together, and then attending the shows as well.
Meghan Pugh is sponsored through Dancers First by Cornell Wright & Sarah McEvoy. Meghan Pugh. Photo by Karolina Kuras. 14
The National Ballet of Canada
Preview Winter 2019
Farewell to Principal Pianist Janis Neilson Principal Pianist Janis Neilson retired in the 2017/18 season after 38 years with The National Ballet of Canada. Janis has accompanied countless rehearsals for both new creations and established ballets and, through her music, has provided inspiration and continuity for dancers, choreographers, artistic staff and audiences, often ser ving as a bridge between generations. With her singular gifts, Janis has created a rich musical legacy for the future. Janis was at the piano for the creation or initial setting of many beloved works, including James K u d e l k a ’s T h e F o u r S e a s o n s , The Nutcracker and Swan Lake, John Cranko’s Onegin, and Alexei Ratmansk y’s Romeo and Juliet, among others. When not playing in the studio, Janis at tends p e r f o r m a n c e s r e g u l a r l y, o f t e n seeing more than one cast of a particular ballet. She has followed the progress of younger dancers
Turnout Working Rehearsal & Reception Tuesday, February 19, 2019, 5:30 pm Walter Carsen Centre Friends’ Corps: Working Rehearsal Wednesday, February 20, 2019, 5:30 pm PLUS: Thursday, February 21, 2019, 5:30 pm, followed by guest speaker Walter Carsen Centre Dress Rehearsal: Apollo & Night & The Sea Above, The Sky Below & Paquita Thursday, February 28, 2019, 8:00 pm Four Seasons Centre
tackling principal roles and rehearsed our most experienced members with equal devotion. Janis was honoured for her many years of ser vice at a special reception in the fall of 2018.
“The depth and breadth of Janis’s knowledge and experience are impossible to measure. She has been an integral and cherished member of the music programme and will be sorely missed.” David Briskin, Music Director and Principal Conductor
Join us March 20 at 6:30 pm for the next edition of See the Music, Hear the Dance.
Upcoming Events
David Briskin and The National Ballet of Canada Orchestra will share insight into the music featured in Apollo, Night, The Sea Above, The Sky Below and Paquita prior to the performance. The National Ballet of Canada’s Rehearsal Pianists are generously supported by The Mary-Margaret Webb Foundation.
The Music Circle: Alice’s Adventures in Wonderland Orchestra Rehearsal Wednesday, March 6, 2019, 11:30 am Four Seasons Centre Dress Rehearsal: Alice’s Adventures in Wonderland Thursday, March 7, 2019, 2:00 pm Four Seasons Centre Friends’ Corps Backstage Tour: Alice’s Adventures in Wonderland Saturday, March 9, 2018, 10:00 am Four Seasons Centre Friends’ Corps Night Monday, April 8, 2019, 4:00 – 8:00 pm Walter Carsen Centre Patrons Council: The Agony & The Ecstasy Dancer Symposium Monday, April 15, 2019, 7:00 pm Walter Carsen Centre
Please RSVP >> Via ‘My Account’ at national.ballet.ca >> By phone: 416 (1 866) 345 9595 or the Patron Hotline >> By email: friendscorps@national.ballet.ca or patrons@national.ballet.ca or turnout@national.ballet.ca
Janis Neilson. Photo by Victoria Schwarzl. The National Ballet of Canada
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June 12, 2019 Gala Co-Chairs: Rana Florida & Rochelle de Goias Presenting Sponsor
Gala Performance tickets now on sale
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